| 书目名称 | Performing Privacy and Gender in Early Modern Literature | | 编辑 | Mary E. Trull | | 视频video | | | 丛书名称 | Early Modern Literature in History | | 图书封面 |  | | 描述 | This book argues that the early modern public/private boundary was surprisingly dynamic and flexible in early modern literature, drawing upon authors including Shakespeare, Anne Lock, Mary Wroth, and Aphra Behn, and genres including lyric poetry, drama, prose fiction, and household orders. An epilogue discusses postmodern privacy in digital media. | | 出版日期 | Book 2013 | | 关键词 | Early Modern Literature; English literature; fiction; gender; lyric; poetry; prose; William Shakespeare; wom | | 版次 | 1 | | doi | https://doi.org/10.1057/9781137282996 | | isbn_softcover | 978-1-349-44882-1 | | isbn_ebook | 978-1-137-28299-6Series ISSN 2634-5919 Series E-ISSN 2634-5927 | | issn_series | 2634-5919 | | copyright | Palgrave Macmillan, a division of Macmillan Publishers Limited 2013 |
| 1 |
,Performing Privacy and Early Modern Women, |
Mary E. Trull |
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Abstract
A privacy performed would, it seems, be a facsimile of true privacy. However, the phrase prompts us to think about performance as constitutive of privacy, and therefore pries open the apparently natural opposition between “private” and “public.” For example, applying the notion of “performing privacy” to authorship and publication usefully complicates the meaning of becoming “public.” We think of entry into the public sphere as a defining moment in which a text, released from the immediate control of its author, risks scrutiny and judgment. Harold Love defines publication as “a movement from a private realm of creativity to a public realm of consumption.”. This notion of publication as a movement between two discrete and well-defined realms has seemed particularly appropriate for early modern women’s writing, which is often marked as transgressive.. Since women’s rare appearances in print violated the period’s explicit gender norms, women’s publication appears as a moment of liberation in which the writer escapes, in her authorial persona at least, her imprisonment in the domestic cares of the private realm. The work that follows proposes that the early modern public/private boundary was the site of both discipline and self-creation for women; and that rather than separating two fully distinct realms, the boundary was flexible and dynamic, open to new definition with each author’s work.
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| 2 |
,Private Lament in Calvin, Knox, and Anne Lock, |
Mary E. Trull |
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Abstract
Historians often trace an emerging respect for privacy in early modern Europe to the Reformation’s promotion of solitary Bible-reading and prayer and the Counter-Reformation’s emphasis on private confession and meditation. The new figure of devotion, according to this argument, was a solitary devotee bent in prayer or immersed in reading, a contemplative form of privacy that helped to enshrine solitude as a state more authentic and valuable than shared experience.. This chapter seeks to expand our understanding of the Reformation and “private” devotion by interrogating the link between solitude and privacy in the work of John Calvin, John Knox, and Anne Lock. Lock’s meditations on the theology of private laments and the variously gendered masks that her sonnets’ speaker adopts make her poetry an important test case for our understanding of privacy and literature.
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| 3 |
,Privacy and Gender in Household Orders, |
Mary E. Trull |
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Abstract
In 1953, W. G. Hoskins profoundly shaped our current understanding of early modern privacy when he identified the Great Rebuilding, a boom in residential remodeling of the 1570s to 1640s, as an effect of a new desire for privacy that had filtered down from the aristocracy to yeomen farmers. A massive remodeling of England, the Great Rebuilding replaced medieval halls, large spaces for communal living and dining, with two-storied houses of many smaller, specialized rooms. Such small rooms, according to Hoskins, enabled a “withdrawal from communal life,” first for the master of the family and later for everyone else.. This concept suits our modern sense that privacy involves freedom from others’ surveillance or knowledge; it also implies that prior to the Great Rebuilding, privacy had not been valued in the same way. Lena Cowen Orlin revises this narrative by arguing that the desire for privacy competed with an equally strong value placed on surveillance as a guarantor of order. Some of the changes in domestic architecture characteristic of the Great Rebuilding, she convincingly demonstrates, enhanced opportunities to observe others.. This chapter examines domestic privacy from a new point of view: the relations between masters (or mistresses) and servants represented by household orders, or manuscript lists of directions to servants.
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| 4 |
,Shakespeare’s ,: Mastery and Publicity, |
Mary E. Trull |
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Abstract
Although women writers offer important test cases for women’s negotiation of the public/private boundary, becoming the subject of public commentary rather than its author was a more common, and equally fraught, form of public exposure for early modern women. By delving into a set of ballads and a Shakespeare play that represent exposure of women’s privacy as both reward and punishment, this chapter explores popular literature’s portrayal of women’s notoriety at the turn of the seventeenth century. It is conventional in the period’s literature for female characters to shudder at the thought of becoming the subject of popular attention. Shakespeare has his Cleopatra envision with horror witnessing “Some squeaking Cleopatra boy my greatness / I’ th’ posture of a whore” (5.2.220–21). Helena of . names her horror of being “traduc’d by odious ballads” (2.1.172). To become a notorious woman is the focus of both anxiety and ambition for the fallen women of ballad literature, a class of heroines easily recognizable in early modern literature but little noticed in modern criticism. Heroines including Jane Shore, Rosamond, Helen of Troy, and Cressida were icons representing an interlocking set of themes: notoriety as both a curse and a reward for fallen women, the sexual connotation of notoriety itself, and the complex dynamics of sympathy, identification, and revulsion linking audiences and heroines.
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| 5 |
,Marriage and Private Lament in Mary Wroth’s , |
Mary E. Trull |
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Abstract
In 1621, the bookstalls of London featured an unusual offering: ., a romance that only thinly veiled its autobiographical tales of illicit love. More startlingly, the title page announced the author as “the right honorable the Lady Mary Wroath, Daughter to the right Noble Robert Earle of Leicester, and Neece to the ever famous, and renowned Sir Phillips Sidney knight. And to the most exelent Lady Mary Countesse of Pembroke late deceased.” . was not only unique as an English work of fiction by a woman, it also trumpeted its author’s extraordinary social position and family connections.. Although Wroth claimed not to have intended its publication, . exposure of its author could hardly have been more daring, given the time’s biases against print publication, against women reading — much less writing — romances, and against women as extramarital lovers. The book met with anger and mockery, forcing the author to apologize and withdraw it from circulation.. Wroth’s foray into print contrasts sharply with her heroines’ view of public exposure: they hide the contents of their hearts and the products of their pens. Queen Pamphilia, . most avid poet, is the “most distressed, secret, and constant Lover,” who “never in all her extremest sufferings” tells her story outright, but withdraws for self-communion to a bower as “delicate without, as shee was faire, and darke within as her sorrowes” (90–91).
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| 6 |
,Interest and Retirement in Aphra Behn’s Odes, |
Mary E. Trull |
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Abstract
Aphra Behn’s kaleidoscopic authorial personae, alternately defiant and needy, amorously insinuating and zealously patriotic, mocking and self-pitying, have fascinated scholars since the late 1980s, when Jacqueline Pearson and Janet Todd called attention to her use of the prostitute as a figure for the woman author.. According to Catherine Gallagher’s influential reading of her authorial personae, Behn appeals for the sympathy due a woman who must please men for money, who must sell herself by neglecting her own taste to obey the market’s demands and pander to vulgar expectations with the seductive tricks of the authorial trade. In Behn’s theatrical prologues and epilogues, Gallagher finds her vacillating between erotic flattery and pathos, first seducing her audience, then satirically commenting on stage eroticism. By her refusal to inhabit a consistent persona, Behn represents herself as the owner and purveyor of a series of alienable selves, each of which gestures towards an elusive “real” self. She repeatedly enacts a contradiction between her authorial claim of mastery over the self and its creations and her need to sell, a process Gallagher calls “the splendors and miseries of authorship.”. Gallagher’s persuasive depiction of Behn as a brilliant manipulator, as well as a victim, of the codes of marketplace ideology has influenced most subsequent Behn studies and supported the view of Behn as a “public woman” whose role is structured by the logic of the marketplace and her own commodification.
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| 7 |
,Epilogue: Performing Privacy on Facebook, |
Mary E. Trull |
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Abstract
With its ominous final words, “We’ll be listening to you,’ Francis Ford Coppola’s 1974 film . expresses a typical Cold War-era fear of the power of modern technology and faceless bureaucracies to crush individual privacy. Films like . (John Frankenheimer, 1962) and . (Alan J. Pakula, 1974) suggest that in Cold War America’s national fantasy life, the integrity and dignity of the solitary individual were crumbling before invincible state, corporate, or criminal machines whose most potent weapon was surveillance. Now, a generation after the fall of the Berlin Wall, the power of governments and corporations to gather personal data silently has vastly increased. Yet, while governments and corporations increasingly track individuals’ whereabouts and reading, shopping, and viewing habits, millions voluntarily share personal information with hundreds or thousands of others on social media platforms, especially Facebook. My analysis of the hybrid nature of early modern privacy suggests that “performing privacy” usefully describes our post-modern moment as well. This conclusion will briefly trace four modern and post-modern concepts of privacy: as a space for isolated reasoning, as social freedom, as “lifestyle transparency,” and as “frictionless sharing.” The last two concepts are forms of “public” privacy articulated by social media entrepreneurs, and while to some extent they mirror early modern concepts of performative privacy, they also intentionally muddy the distinction between voluntary and involuntary self-exposure.
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发表于 2025-3-21 17:47:21
